119 10 1775 https://omeka.binghamton.edu/omeka/files/original/0e385ccfb00bec9cb122b5b65e612fac.pdf 13c04ea6e980427276f1fb4250a01862 PDF Text Text BINGHAMTON UNIVERSITY State University of New York ,, D E P A A T M E N T SENIOR HONORS RECITAL Sarah Sterling, viola with Margaret Reitz, piano Emily Creo, cello Alicia Koepke, violin Elizabeth Sterling, violin Sunday, April 26, 2009 7:30 p.m. Casadesus Recital Hall �PROGRAM Passacaglia on an Old English Tune (1943) ............. Rebecca Clarke ( 1886-1979) Margaret Reitz, piano Suite No. 1 in G Major, BWV 1007 ............... . Johann Sebastian Bach (1685-1750) Prelude Allemande Courante Sarabande Minuett I/II Gigue Fantasie, Op. 94 ....................................... Johann Nepomuk Hummel (1778-1837) Margaret Reitz, piano INTERMISSION Sonata for Viola and Piano ....... Mikhail Glinka (ed. V. Borisovsky) (1804-1857) Allegro moderato Larghetto ma non troppo Margaret Reitz, piano h String Quartet No. 1 in E minor, "From my Life" .. þÿBedYicSmetana ( 1824-1884) Allegro vivo appassionato Emily Creo, cello Alicia Keopke, violin Elizabeth Sterling, violin �ABOUT THE PERFORMERS SARAH STERLING, violist, is a senior at Binghamton University, double-majoring in Music and Psychobiology. She has studied the viola for thirteen years under various teachers, including Roberta Crawford, Sue Nazzaro, Melinda Daetsch, and Nathan Frantz. Sarah has also studied piano and is an active vocalist. Her musical activities at Binghamton include participation in the University Symphony Orchestra and Harpur Chorale, as well as various chamber ensembles. She was a finalist in the 2007 Binghamton University Concerto Competition and is a recipient of the John M. and Marcella M. Keeler Scholarship in Music. She has also participated in the Luzerne Music Center Summer Program and was a member of the NYSSMA All State Symphony and Empire State Youth Orchestra. Sarah plans to go on to graduate school following her graduation in May. MARGARET (PEJ) REITZ, pianist, is a native of the Binghamton Area. She received her Bachelor and Mater of Music degrees in piano performance with accompanying emphasis. She attended Boston University, New England Conservatory and Binghamton University. She has studied · piano with Jean Casadesus, Victor Rosenbaum, Seymour Fink and Walter Ponce. She has studied accompanying with Allen Rogers. She has accompanied throughout the United States, in England, South America, and at the American Institute for Musical Studies in Graz, Austria. She and Binghamton University faculty member Timothy Perry were winners of the Artistic Ambassadors Program by the United States Information Agency in partnership with the John F. Kennedy Center for the performing arts. Pej has been a guest chamber music artist in Morges, Switzerland. She also was selected to attend the Accompanying Workshop for Singers and Pianists held at Northwestern University with Chicago Lyric Opera Faculty and Coaches. Pej was recently invited to the International Clarinet Conference to play a recital in Tokyo, Japan. She was a guest artist on the Cornell Summer Series this past summer, and she was an official pianist at the International Double Reed Competition and Convention in 2007 at Ithaca College. She was selected to accompany at the Interpretation of Spanish Music in conjunction with University of Madrid in Grenada, Spain in July 2007, coached by Teresa Berganza, and at Mannes School of Music in the summer 2008. Pej will be in �residence at the Barcelona Festival of Song this summer in Spain as coach/accompanist, and has been asked to play a concert this summer with the Glickman Trio in the United Kingdom at the IDRS Convention. Pej has been on the faculty at Binghamton University since 1991 and Ithaca College School of Music since 1999. She maintains a private piano studio in Vestal, New York. She is on the Executive Board of the New York District MTNA organization, is President of the local District VII Music Teachers Association, and is an active adjudicator for the National Piano Guild Organization. EMILY J. CREO, cellist, completed her master's degree in Music History and Literature at Binghamton in May of 2008. She also obtained her bachelor's degree from Binghamton with a major in Music and a minor in Medieval Studies. While at Binghamton, Emily performed as a cellist in the University Orchestra as well as in the chamber program, and as a vocalist in the Harpur Chorale. She is currently active performing in the Southern Tier, and this season will mark her tenth year playing for the Summer Savoyards annual Gilbert and Sullivan production . Though still a musician on nights and weekends, Emily works in accounting and administration for the Binghamton Senators Hockey Team by day to afford rosin and sheet music. ALICIA KOEPKE, violinist, is a sophomore at Binghamton University with a goal of obtaining a bachelor's degree in Music. She has studied with the late Joan Williams, Fritz Valenches, Roberta Crawford, and Janey Choi. For 7 years Alicia had been active in the Sinfonia Youth Orchestra, and, as a member of the Scranton/Wilkes-Barre Community Orchestra, has performed in professional settings including the Clay Aiken Magical Holiday Tour 2007. She has also played i n various weddings and has given private lessons. Alicia is currently a member of the Binghamton Univesity Orchestra and chamber music program. As of right now, she is unsure of her post-graduation plans. ELIZABETH STERLING, violinist, a student of Janey Choi, is completing her senior year at Binghamton University with a double major in Music and Anthropology. She has performed with various chamber ensembles and orchestral groups, including the Saratoga Springs Youth Orchestra, Empire State Repertory Orchestra, and Binghamton University Symphony Orchestra. Her other musical interests �include piano and vocal studies. She is currently a member of Harpur Chorale and the Jazz Ensemble and studies voice with Mary Burgess. She has also studied with Sue Nazzaro, Pattie Sunwoo (violin), Patte Hadfield, Chai-Kyou Mallinson (piano), Jeffrey Vredenburg, Elizabeth Duhr, and Heather Montana (voice). Elizabeth plans to pursue a master's degree in Music Education following her graduation in May. ABOUT THE MUSIC Passacaglia on an Old English Tune • Rebecca Clarke was born and educated in Britain, but spent most of her life in the United States. She wrote close to 100 works in her lifetime, though by the time of her death in 1979, even the 20 that had previously been published were out of print. Since then, scholarship and interest in her work has revived. Clarke's style combines elements of impressionism, post-romanticism, and neo-classicism to create a powerful musical statement. She wrote the "Passacaglia on an Old English Tune" and performed its premiere herself in 1941. The work is based on a theme by Thomas Tallis. Clarke transforms the simple melody into something much more potent and full of emotion. The piece was dedicated "To BB," which could either refer to Clarke's niece Magdalen, or to Benjamin Britten. (The latter would make sense as Britten had organized a funeral for Frank Bridge, an influential composer and friend of Clarke's, that same year. The Passacaglia creates feelings of grief and nostalgia that could easily have accompanied such a loss.) Suite No. 1 in G major, BWV 1007 • Johann Sebastian Bach wrote his six Cello Suites during his time as music director at Cothen, probably around 1720. In this position, he had no church musical responsibilities and so was able to compose mostly secular music for domestic and pedagogical use. The suites were at first believed to be etudes, and for many years were paid little attention. Today, however, they have become an essential part of the repertoire for the cello and a plethora of other instruments, including the viola. Because Bach left no manuscript and little or no markings indicating tempi, dynamics and other aspects of performance, much has been inferred from other copies of his manuscript, especially those written by Bach's second wife, Anna Magdalena. The suites each showcase the various technical possibilities of the instrument, and are comprised of six movements: an improvisatory prelude followed by five variously styled dance movements. Perhaps the �best-known movement of the G major Suite, the Prelude, consists primarily of arpeggiated chords. The dance movements that follow cover the entire stylistic spectrum, alternately poised, exuberant, contemplative, carefree, and full of joy. Though the concept seems almost too simple, Bach's innovative combination of contrapuntal, harmonic, and rhythmic techniques makes the work sophisticated and whole even without accompaniment. Fantasie, Op. 94 • The Fantasie was composed in 1820 in the context of a larger work, Potpourri for Viola and Orchestra. Hummel's Potpourri was made up of eight distinctive sections containing music from the operas of Mozart and Rossini, as well as improvisatory and fugal elements. In its shortened form, it has become a staple of the viola repertoire. Editions have been published for other instruments as well, including violin, cello, and even string quartet. A gravely emotional G minor beginning sets the tone for the Fantasie. The piece then switches gears with a florid Andante section in B flat major, based on the aria "II mio tesoro" from Mozart's Don Giovanni. A rollicking Allegro ma non troppo in D major carries the piece to a triumphant finish. Sonata for Viola and Piano • The Sonata for Viola and Piano was written between 1825 and 1828. In his Memoirs, Glinka describes it as "cleaner" than his other compositions of this early period. The first movement was composed in 1825 while he was living in St. Petersburg as a sort of transition from academic composition to "real" music. Glinka composed the second movement while visiting Moscow in 1828. Though he started work on the third movement, it was ultimately never realized. (The Rondo theme originally intended for the third movement was later incorporated in a polka for children.) Thus, the second movement concludes the sonata. (Most of the work done by Vadim Borisovsky to complete the piece consisted of elaborating the piano part.) In the end, Glinka was pleased with the sonata's "clever counterpoint" and saw it as one of his most successful compositions. The piece has a certain frank sincerity that, combined with a distinctly Russian flavor and dramatic mood, makes it both exciting and accessible for listeners. String Quartet No. 1 in E minor, "From My Life" • Smetana's String Quartet No. 1 in E minor "From My Life" was written in 1876, two years after its composer tragically lost his hearing. Its title reveals the quartet's autobiographical nature. In an 1878 letter to Josef Srb, Smetana explains, �"I wanted to depict in music the course of my life ... the composition is almost only a private one and so purposely written for four instruments which, as in a small circle of friends, talk among themselves about what has oppressed me so significantly." Indeed, the work is made up of separate musical ideas that can be said to represent its composer's state of mind at significant points in his life. At the time the piece was composed, such programmatic works were for the most part reserved for the symphony, rather than the string quartet. This makes "From My Life" somewhat unique as a chamber work. The quartet was initially rejected by the Prague Chamber Music Association for its "dubious orchestral style," as well as for what were then considered instances of technical impossibility. It was finally performed in the Konvikt Hall of Prague on March 29, 1879. The first movement is a depiction of Smetana's youth - his love of music and a desire for something indescribable. It ends with a moment of foreshadowing in the first violin, a premonition of deafness, ultimately signified in the final movement by a long-held high E. �Binghamton University Music Department's UPCOMING EVENTS Tuesday, April 28th Friedheim Memorial Lecture/Recital: Audible Processes - Minimalism and Beyond, Casadesus Recital Hall, 8:00 PM, $$ Thursday, April 30thMid-Day Concert, 1:20 PM - FREE Casadesus Recital Hall Friday, May 1stFlute Studio and Flute Chamber Concert, 10:15 AM, Casadesus Recital Hall,FREE Recital: Sung Jin Park, soprano, Casadesus d Saturday, May 2 nMasters Recital Hall,3:00 PM, FREE dasters Recital: Susan Amisano, soprano, Casadesus Saturday, May 2 nM Recital Hall, 8:00 PM, FREE Symphony Orchestra "Fantastique!" d Saturday, May 2 nUniversity Osterhout Concert Theater, 8:00 PM, $$ Masters Recital: Jenean Truax, soprano, Sunday, May 3rd Casadesus Recital Hall, 3:00 PM, FREE Tuesday, May 5th Percussion Ensemble, 8:00 PM, FREE Anderson Center Chamber Hall Thursday, May 7thStudent Recognition Mid-Day Concert, Casadesus Recital Hall,1 :20 PM, FREE Thursday, May 7thHarpur Chorale and Women's Chorus, Anderson Center Chamber Hall,8:00 PM, FREE Friday, May 8th Binghamton University African Music Ensemble, Casadesus Recital Hall,8:00 PM, FREE Saturday, May 9th Hindustani (North Indian) Classical: Tomek Regulski, CasadesusRecital Hall, 8:00 PM, FREE For ticket information, please call the Anderson Center Box Office at 777-ARTS. -I � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:02:32 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149629">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149629</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Senior honors recital, Sarah Sterling, April 16, 2009 Recital Tape 2009-4-26b Description An account of the resource Works of Clarke, Bach, Hummel, Glinka, Smetana. Held at 7:30 p.m., April 26, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret Creo, Emily Koepke, Alicia Sterling, Elizabeth Sterling, Sarah Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-26 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/4303848b30a5c5d04f39bef4bc6faa03.pdf 3bfcc4211e3ddc10e79215a08a63142d PDF Text Text BINGHAMTON U N I V E R S I .T Y usi DEPARTMENT BRIANA SAKAMOTO, SOPRANO JUNIOR RECIT AL WILLIAMJAMES LAWSON, PIANIST SATURDAY,APRIL 25, 2009 7/ P. . M. CASADESUS HALL �I. Selections from 26 Arie di Stile Antico ........................... Stefano Donaudy (1879-1925) l 1. Venuto èl'Aprile 2. Luoghi sereni e cari 3. Quando ti rivedrò 4. Ognun ripicchia e nicchia II. Selected lieder .......................................................................... Franz Schubert (1797-1828) 1. An die Musik, op. 88 no. 4 2. Auf dem Wasser zu singen, op. 72 3. Friihlingsglaube, op. 20 no. 2 III. Selected lieder.....:············································· Fanny Mendelssohn Hensel (1805-1847) 1. Verlust, op. 9 no. 10 2. Sehnsucht, op. 9 no. 7 3. Italien, op. 8 no 3 Intermission IV. HalfMinute Songs ......................................................... Carrie Jacobs Bond (1862-1946) 1. Making the Best of It 2. First Ask Yourself 3. To Understand 4. How to Find Success 5. The Pleasure of Giving 6. Answer the First Rap 7. A Good Exercise 8. A Present from Yourself 9. Now and Then 10. When They Say the Un-kind Things 11. Keep Awake 12. Doan' Yo' Lis'n V. Selected melodies ....................................................................... Gabriel Fauré (1845-1924) 1. Mandoline 2. Au bord de l' eau 3. Les berceaux 4. Chanson d'amour VI. Selected songs ................................................................... Stephen Sondheim (b. 1930) Green Finch and Linnet Bird (from Sweeney Todd) Take Me to the World (from Evening Primrose) On the Steps of the Palace (from Into the Woods) �Stefano Donaudy aspired to be a great opera composer, finding popular success in the genre from ·the age of 14. His composition teacher said he had an "effortless melodic spirit." Donaudy's operas did not endure at a time when the works of Verdi and Puccini dominated the operatic landscape, but his Arie di Stile Antico are now quite popular for recitalists. These pieces are in the traditional vein for which Donaudy is best known. Biographical material on the composer is strangely limited. We can only guess at the origins of the passionate intensity of his songs (giving some credit to Donaudy's Sicilian roots!), but, for whatever reason, they convey a tells of budding love l great generosity of heart and soul. Venuto è l'Aprile between mythical nymphs and wood spirits. The voice begins alone, followed by the piano in the same sprightly melody, and they seem to chase each other and dance, like the song's characters. Bittersweetly, Luoghi sereni e cari recalls youth and the pain of a first heartbreak. The accompaniment is at times wistful and music-box-like, and at other times swelling with more mature colors. A deeper, unresolved loss is mourned in the operatic Quando ti rivedro. The speaker asks when she will see her unfaithful lover again, but the music tells us that she knows he will not return. Ending the set with lighter fare, Ognun ripicchia e nicchia tells the familiar story of a promising date gone awry. When Franz Schubert was eight, he studied with organist Michael Holzer, who reportedly said, with tears in his eyes, ''Whenever I wished to impart something new to him, he always knew it already." Schubert is perhaps the Giant of German lieder. With astonishing speed he wrote hundreds of songs in addition to a myriad of other compositions in his short life. Everything in the gamut of emotional experience has probably been expressed in a Schubert song. Additionally, these musical gems evoke images and sensations of water, breezes, sunset, and the like. Schubert's idealism comes through in music that elevates the human experience. "The important elements of Schubert's character were a love of truth, and a marked hatred of jealousy, tenderness with firmness, sincerity and affection ... " These qualities are exemplified in An die Musik. This song is like a duet between the voice and the piano's melodic bass-line. Schubert wrote the last two songs in this set while struggling with illness and depression. Equivocation between minor and major in Auf dem Wasser zu singen expresses awe, sadness and ultimately joy in the face of life's ephemeral beauty and the speaker's own mortality. The speaker of Friihlingsglaube comforts her own "poor heart" and welcomes the promise of spring heralded by "gentle breezes." One supposes that the composition of such songs must have helped Schubert cope with his illness. After he died, his tomb was given Grillparzer's famous epitaph: "The art of music has entombed here a rich treasure but even fairer hopes." �Though Fanny Mendelssohn-Hensel displayed prodigious talent early on, her family strongly discouraged her pursuit of a musical career. She transferred much of her creative energy into advising her brother, Felix. Nonetheless, she composed prolifically, developing a distinct musical voice. In 1846, she summoned the courage to publish, announcing it in an apologetic letter to her brother, "I hope you won't think badly of me ... if the pieces are well liked and I receive additional offers ... it will be a great stimulus to me, something I've always needed in order to create ... " She died soon after. Today, the majority of her works remain in family archives, unavailable to performers and listeners. These three songs represent some of her great emotional range, and ability to create richness through relatively simple, clean melodies with novel twists. An ironic major-minor conflict, and rhythmically crowded phrases embody the broken-hearted turmoil of Verlust. Sehnsucht begins on a long note that fades away like the distant "dance tune" it describes. Its melody moves primarily in descending scales, but at times rises and holds our expectation, mirroring the speaker's unfed yearning. Evoking the brilliance of nineteenth century Italian opera, ltalien soars, dance-like, in an outburst of pure, triumphant joy. About a month before Hensel died, she wrote of such bliss in her diary. Perhaps beginning to share her work with the world gave her a new freedom and lightness of heart. "Yesterday the first breath of spring was in the air. It has been a long winter ... indeed a winter full of suffering ... My inmost heart is ... full of thankfulness.... I am quite overcome with my own happiness." Carrie Jacobs-Bond was a piano prodigy, but did not pursue music professionally until after the death of her second husband, when she lost nearly everything. She fought poverty for years, .providing for herself and her son by writing, selling and performing songs "unpretentious as a wild rose." She suffered stage fright, and was criticized for being "plain and angular." An untrained vocalist, she courageously sang and played her songs on her own at first because she could not find anyone else to do it. Ultimately she became quite famous and successful for her music and earnest performances. Upon hearing her most famous song, At the End of a Perfect Day, in concert, a Viennese composer visiting the United States stood up, thinking it was the national anthem, so revered and beloved it was. It is easy to imagine Jacobs-Bond delivering these pearls of wisdom, the HalfMinute Songs. They are infused with her uprightness, forthrightness, and most of all, her consciousness that in making music, she was giving a muchneeded gift: "I wonder what the world would be like if there were nobody to do the simple things!" Bond wrote, "I wonder how folks would get along without snappers, and hooks and eyes, and pins. Nothing could be much commoner than they are, but they fill a very much-needed place. You see, lots of folks can get along without a point lace collar, but I should hate to see folks try to get along without the other commodities I've spoken of. And sometimes songs (simple songs) like pins keep folks together." �Gabriel Fauré was reportedly very charming and seductive, like so many of his melodies. He was quite busy as a teacher and organist, and could not devote the majority of his time to composition. Fauré's life spanned the musical developments of greats like Berlioz, Berg, and Shostakovich, and he was educated with a wide range of musical voices from an early age, giving him an extensive palette. The musical language he created out of all that he absorbed was one of the most modern of its time. Mandoline is an excellent example. Its melody seems to begin simply, as does the picture of the archetypal lovers it describes, but falls into a colorful and amorous reverie, destabilizing our sense of the key. Au bard de l'eau describes the infinite richness of the moments two people can share when they live and love in the present. Les berceaux juxtaposes the rocking of large ships in a harbor with the rocking of cradles. Both are represented in the music: long phrases stretch over a shorter constant rocking figure in the piano's right hand. The set closes with the breathless Chanson d'amour. In it, the poet ecstatically enumerates everything he loves about his fiery lover, from head to feet. One of our greatest living composers, Stephen Sondheim is a lover of words, internal process, and impeccability of speech and expression. Through his songs we enter vast emotional and intellectual landscapes, each rich and unique; but no matter how smart, novel, or dark, they are simply human at the core. Sondheim trained with Oscar Hammerstein, and followed in his footsteps to earn a place in the Pantheon of musical theatre composers. In Sondheim's work one hears the influence of opera (Puccini in his crowd scenes) and musical theatre (Hammerstein in his love songs). Additionally, there is an incredibly current, vernacular and bitingly intellectual use of language. The composer has an uncanny ability to tap into a character's soul and mind, often through the musicality of natural speech patterns: An extended rest may be a moment of clarity, a dotted rhythm a hesitation, and so on. These three songs are full of such telling moments. They present three young women coming of age, seeking freedom. Johanna, from Sweeney Todd, is in the care of an oppressive and lascivious ward, kept in her room all day, listening to the songs of the caged birds outside her window. She sings back to them in Green Finch and Linnet Bird Johanna sings a tuneful and light melody, yet a persistent, somewhat dissonant, beat in the piano belies her growing dissatisfaction. The second selection is from an episode of ABC's "Studio 67 ," Evening Primrose, that tells the story of a group of people who have decided to separate from society by living in a department store. Ellen was brought to the store by her mother when she was very young, and has always wished to leave. When a disillusioned poet comes to stay in the store, Ellen and he fall in love. She pleads him to escape with her in Take Me to the World The melody evokes classic musical theatre, but the accompaniment is ominous and harmonically "crunchy." The last character is Cinderella, from Into the Woods, who tells how she really came to leave her glass slipper On the Steps of the Palace. �In selecting this program, I noticed that the pieces I was drawn to shared common threads such as nature, dance, water, flowers, birds, positive existentialism, idyllic settings and awakenings. Such themes and motifs are hardly surprising to find in art songs and musical theatre pieces. However, I want to highlight them in celebration of Spring and all it represents. If I titled this evening, I might borrow from Schubert and Uhland and call it Frühlingsglaube (Spring-Faith). I wish you all the best in the new season and forward ... Finally, in the words of Bek David Campbell, "Please enjoy." Sources: Gabriel Fauré, Jessica Duchen. London: Phaidon, 2000. GroveMusic Online, Oxford University Press, 2007-2009. The Mendelssohns; three generations ofgenius. New York, C. Scribner's Sons, 1972. The Roads ofMelody, Carrie Jacobs Bond. Ayer Publishing, 1980. Sondheim, Martin Gottfried. New York; London: Harry N. Abrams, 2000. Stefano Donaudy's 'La Fiamminga,'' aperformanceproject, Samuel Taylor Savage, DMA 2002. UMI Dissertation Services. From ProQuest. Women and Music,A History, 2nded. Ed. Karin Pendle. Bloomington: Indiana University Press, 2001. Briana Sakamoto is pursuing a Bachelor of Music degree in Vocal Performance at SUNY Binghamton under the direction of Professor Mary Burgess. She also studies with Professor Tim LeFebvre, Judy Berry and Peyton Hibbitt, here in Binghamton, and with dramatic soprano Carol Yahr, in Manhattan. She has performed with the Taconic Opera Company and the Binghamton University Chorus and is currently a member of BU's Harpur Chorale. She has a long background in theatre, earning AEA membership and SAG/ AFTRA eligibility' in 2005, and studies acting between semesters at the Larry Singer Studios in Manhattan. "Many thanks to my family, friends and teachers! Peace!" William James Lawson coaches and accompanies singers at Binghamton University. As a coach, he specializes in English diction for American and English art songs and the sacred and classical theater repertoires. He studied at Binghamton University (B.A. 1980), where his teachers included Seymour Fink and Patricia Hanson in piano, M. Searle Wright in church music, and Stevenson Barrett in vocal coaching. He holds an M.A. from New York University (1984) and was one of the first graduates of New York University's innovative Department of Performance Studies, an interdisciplinary program in the performing arts. This past July, he conducted the Summer Savoyards production of Princess Ida. �I. Venuto è l' Aprile Text: Alberto Donaudy (1880-1941) April has come Venuto è l'Aprile tessendo ghirlande, E ninfee silvani sulprato raunando. A ccordan gli ontani i loro strumenti E ai primi concenti de/ vento Fra i rami comincia la danza. Prima un fauno s'avanza... La sua ninja lo mira... S ospira... E volano insiem! April has come, weaving garlands, And nymphs and sylvans are gathering on the meadow. The alder trees are tuning their instruments And at the first harmony of the wind Among the branches, the dance begins. First a faun advances .. . His nymph looks at him .. . Sighs .. . And they fly away together! Folleggian le coppie tra ifonti e le rive, E poi nelle selve scompaion furtive ... Ma Clori, che intanto gelosa è di Nice, Aspetta infelicee so/a, nelpianto, Che cessi la danza. The couples frolic among the fountains and streams, And then into the forest disappear furtively . .. But Clori, who meanwhile is jealous of Nice, Waits unhappily and alone, in tears, For the dance to stop. Maun pastore s'avanza... E già Clori lo mira... S ospira... E volano insiem! But a shepherd advances . . . And Clori looks at him .. . Sighs . .. And they fly away together! Luoghi sereni e cari Text: Alberto Donaudy Places serene and dear Luoghi sereni e cari, io vi ritrovo Quali ai bei dì lasciai digiovinezza! Gli stessi amati aspetti Ovunque iipasso io muovo... Sol non mi punge ancor Che l'amarezza dei mesti giorni In cui i tormenti d'un triste inganno Insegnato m'hanno pei primicosa Al mondo è dolor! Places serene and dear, I find you again Just as beautiful as I left you in the days of my youth! The same beloved sights Wherever I tum my step ... Only now do I not sting with The bitterness of mournful days During which the torments of a sad deception Taught me for the first time what In the world is griefl Lungi da voi fuggitoal/or Cercai di trovar pace al mio tradito core. Andaifin oltre mare, ed altre donne amai... Ma nu/la può /enire quel do/ore Ch'è piaga viva in ogni core d'amante Che nell'amore aveva ugualfade Che pregando ii Signor! Having fled far from you, then Trying to find peace for my betrayed heart. I went beyond the sea, and loved other women ... But nothing can lessen that pain Which is a living wound in every lover's heart Who had as much faith in love As in praying to the Lord! �Quando ti rivedrò Text: Alberto Donaudy When shall I see you again Quando ti rivedrò, Infida amante che mifosti si cara? T ante !agrime ho piante Or che a/trui ci separa, Che temo sia fuggita ogni gioia Per sempre di mia vita. Eppur più mi dispero, Più ritorno a sperare. Più t'odio ne/pensiero, E più ancora l'anima mia ti torna ad amar. When shall I see you again, Unfaithful lover who was so dear to me? So many tears have I wept Now that another separates us, That I fear every joy will be gone Forever from my life. And yet the more I despair, The more I return to hoping. The more I despise you in my thoughts, Then once again my soul turns to loving you. Quando ti rivedrò, Infida amante che mifosti cara cosi? When will I see you again, Unfaithful lover who was dear to me like that? Ognun ripicchia e nicchia Text: Alberto Donaudy Ognun ripicchia e nicchia ognor Su un caso strano a dir. Ma perchè, ma cos'è, Che tanto amor dovea cosifinir? Orio voglio la mia storia raccontar T anto bujfa ell'è: Me ne givo un di con Monna Lapa insiem, Che si cara m'era al cor, Peri campi a raccoglier.ftor. .. Ma la storia comincia qui. Everyone repeats and hesitates each time Over a case strange to tell. But why, but how is it, That so much love must end this way? Now I want to tell my story So funny it is: I was walking one day with my lady Lapa, Who was so dear to my heart, Through the fields to pick flowers ... But the story begins here. U'! cos'è quel ch'io veggo là? Un grillo o un rusignuol? Più be! ve'! Più be! ve'! La mia beltà sedette su un poggiuol. Lei sperava di poter cosi Coder ii divin cantor, Ma al trillar de/ grillo E al pronto suo balzar Diede un grido, e nelfuggir, Sù ove prima seggea cascò.... E la storia.ftnisce Ii. Ooh! What is that I see there? A cricket or a nightingale? Look- more beautiful! Look- more beautiful! My beauty sat on a little hill. That way she hoped to be able To enjoy the divine singer, But at the trill of the cricket And his quick leap She gave a shriek, and as she fled, I fell on the place where she had sat, And the story ends there . �II. An die Musik Text: Franz von Schober (1797-1828) Du ho/de Kunst, in wievielgrauen Stunden, Wo mich des Lebens wilder Kreis umstrickt, Hast du mein Herz zu warmer Lieb' entzunden, Hast mich in eine beßre Welt entrückt! To Music Oft hat ein Seufzer, deiner Harf'entjlossen, Bin süßer, heiliger Akkord von dir Den Himmel beßrer Zeiten mir erschlossen, Du ho/de Kunst, ich danke dir dafür! Often has a sigh, flowing from your harp, A sweet, holy chord from you Unlocked the heaven of better times for me, You dear art, I thank you for that! Auf dem Wasser zu singen Text: Graf zu Stollberg (17 48-1821) To be sung on the water Mitten im S chimmer der spiegelnden Wellen Gleitet, wie S chwäne, der wankende Kahn; Ach, auf der Freude sanjtschimmernden Wellen Gleitet die S eele dahin wie der Kahn; Denn von dem Himmel herab auj die Weflen Tanzet das Abendrot rund um den Kahn. Amid the shimmer of the mirroring waves Glides, as swans do, the wobbling little boat; Ah, on joy's soft-shimmering waves, Glides the soul there like the boat; Then from the heavens down on the waves Dances the evening's red glow around the boat, Ober den Wipftln des westlichen Haines Winket uns.freund!ich der rötliche Schein; Unter den Zweigen des ostlichen Haines Säuselt der Kalmus im rötlichen Schein; Freude des Himme!s und Ruhe des Haines Atmet die Seel im erriitenden Schein. Over the treetops of the westerly wood The red glow winks to us friendily, Under the boughs of the easterly wood Rustle the reeds in the reddish shine; Joy of the heavens and peace of the woods Breathes the soul, in the reddening shine. Ach, es entschwindet mit tauigem Flügel Mir auf den wiegenden Wellen die Zeit. Morgen entschwinde mit schimmerndem Flügel Wieder wie gestern und heute die Zeit, Bis ich auf höherem strah!enden Flügel Seiber entschwinde der wechselnden Zeit. Ah, with dewy wings, time vanishes From me, on the rocking waves. Tomorrow, time flies on shimmering wings, Again, like yesterday and today, Until I, on higher sparkling wings Myself will vanish in the changing time. Friihlingsglaube Text: Ludwig Uhland (1787-1862) Spring-faith Die linden Lüfte sind erwacht, Sie säuseln und wehen Tag unt Nacht, Sie scha.ffen an a/fen Enden. Duft, o neuer Klang! 0 frischer Nun, armes Herze, sei nicht Bang! Nun muss such al/es, al/es wenden. The gentle breezes are awake, They rustle and waft day and night, They are at work everywhere. 0 fresh scent, o new sound! Now, poor heart, be not afraid! Now must everything, everything change. Die Weft wird schöner mitjedem Tag, Man weiss nicht, was noch werden mag, Das Blühen will nicht enden; Es blüht das ftrnste, tieftte ta!, Nun, armes Herz, vergiss der Qua!! Nun muss sich al/es, alles wenden. The world grows lovelier with every day, One does not know what yet may come to be, The flowering will not end; The farthest, deepest valley blooms, Now, poor heart, forget your pain! Now must everything, everything change. III. Verlust Text Heinrich Heine (1787-1856) Loss Und wüßten's die Blumen, die kfeinen, Wie tief verwundet mein Herz, Sie wßrden mit mir weinen, Zu heilen meinen Schmerz. And if they knew, the flowers, the little ones, How deeply wounded my heart is, They would weep with me, To heal my pain. You dear art, in how many gray hours, Where I was ensnared in life's wild circle, Have you kindled warm love in my heart, Have you moved me to a better world! �Und wüßten's die Nachtigallen, Wie ich so traurig und krank, Sie ließen fröhlich erschallen Erquickenden Gesang. And if the nightingales knew, How I am so sad and sick, They would happily let ring out Refreshing song. Und wüßten sie mein Wehe, Die goldnen Sternelein, Sie kämen aus ihrer Höhe, Und sprächen Trost mir ein. And if they knew my pain, The golden little stars, They would come from their height, And speak consolation to me. Die a/le können's nicht wissen, Nur Einer kennt meinen Schmerz; Er hatja selbst zerrissen, Zerrissen mir das Herz. They all cannot know it, Only one knows my pain; He has, yes, himself ripped apart, Ripped apart my heart. Sehnsucht Text: Johann Gustav Droysen (1809-1884) Longing Fern undferner schallt der Reigen. Wohl mir! um mich her ist S chweigen a Flur. Aufder Zu dem vol/en Herzen nur Will nicht Ruh' sich neigen. Far and farther sounds the round dance. Well to me! around me here is silence On the land. Only to my full heart Will rest not come. Horeb! die Nacht schwebt durch die Riiume. Ihr Gewand durchrauscht die Bäume Lispelnd leis'. Ach, so schweifen liebeheiß Meine Wiinsch' und Träume. Hark! The night soars through the space. I ts robe rushes through the trees Murmuring softly Ah, thus roam, love-hot, My wishes and dreams. Italien Text: Franz Grillparzer (1791-1872) Italy Schöner und schöner schmiickt sich der Plan, S chmeichelnde Lüfte wehen mich an! Fort aus der Prosa Lasten und Müh' Zich' ich zum Lande der Poesie. Fairer and fairer the plain decks itself, As coaxing breezes blow me along! Away from the burden and trouble of prose Drawing me toward the land of poetry. Gold'ner die Sonne, blauer die Luft, Grüner die Grüne, würz'ger der Duft! Dort an dem Maishalm, schwellend von Saft, Sträubt sich der Aloe störrische Kraft; More golden the sun, bluer the air, Greener the green, more fragrant the scent! There by the cornstalk, swelling with sap, Struggles the aloe's obstinate strength; Olbaum, Cypresse, blond du, du braun, Nickt ihr wie zjerliche, grüßende Frau'n? Was glänzt im Laube,funkelnd wie Gold? Hal Pomeranze, birgst du dich hold? Olive tree, cypress, one blond, and one brown, Don't you nod like dainty, greeting ladies? What gleams in the foliage, sparkling like gold? Ah! Oranges, are you lovelies hiding there? Trotz'ger Poseidon, wärest du dies, Der unten scherzt und murmelt so süß? Und dies, halb Wiese, halbAther zu schau'n, Es wär des Meeres furchtbares Grau'n? Defiant Poseidon, were you the same one, Who below now jokes and murmurs so sweetly? And this, half meadow, half ether, it seems, Was the sea's fearsome horror? Hier will ich wohnen, Göttliche du: Bringst du, Parthenope, Wogen zur Ruh'? Nun denn versuch' es, Eden der Lust, Eb'ne die Wogen auch dieser Brust. Here I would live! Godlike one: Can you Parthenope bring the waves to rest? Now then, try it, Eden of Joy, And ease also, the waves in this breast. �V. Mandoline Text: Paul Verlaine (1844-1896) Les donneurs de sérénades Et !es belles écouteuses Echangent des propos fades Sous !es ramures chanteuses. The givers of serenades And the lovely listeners Exchange vapid words Under the singing branches. C'est Tircis et c'est Aminte, Et c'est l'éternel Clitandre, Et c'est Damis qui pour mainte Cruelle [fait]* maint vers tendre. There's Thyrsis and there's Amyntas, And there's the eternal Clytander, And there's Damis who, for many a Cruel woman, wrote many a tender verse. Leurs courtes vestes de soie, Leurs longues robes àqueues, Leur élégance, leurJoie Et leurs molles ombres bleues Their short coats of silk, Their long dresses with trains, Their elegance, their joy And their soft blue shadows Tourbillonent dans l'extase D'une lune rose et grise, Et la mandolineJase Parmi !es frissons de brise. Whirl in the ecstasy Of a moon pink and grey, And the mandoline prattles Among the shivers of the breeze. *originally "fit" Au bord de l'eau Text: Sully-Prudhomme (1839-1907) S 'asseoir taus deux au bard du flat qui passe, Le voirpasser; Taus deux, s'ilglisse un nuage en l'espace, Le voir glisser; À /'horizon s'ilfume un toit de chaume, Le voirfumer; Aux alentours si quelqueJleur embaume, S 'en embaumer; At the edge of the water Entendre au pied du saule ou l'eau murmure L 'eau murmurer; Ne pas sentir tant que ce rêve dure, Le temps durer; To hear, at the foot of the willow where the water murmurs, the water murmuring; Not to feel, as long as this dream lasts, The passage of time; Mais, n 'apportent de passion profonde, Qu 'à s 'adorer, Sans nu! souci des querelles du monde, Les ignorer; But, bringing no deep passion, Except to adore one another, With no worry of the world's quarrels, To ignore them; Et seul taus deux devant tout ce qui lasse, Sans se lasser, S entir !'amour devant tout ce qui passé, Ne point passer! And alone, us two, before all that causes weariness, Without wearing, To feel love, faced with all things that pass away, Not passing away! To sit, us two, at the edge of the stream that passes, To watch it pass; Us two, if a cloud glides in the sky, To watch it glide; On the horizon, if a thatched roof smokes, To watch it smoke; Around us, if a flower imbues the air, To be imbued; �Les berceaux Text: Sully Prudhomme The cradles Le long du quai, !es grands vaisseaux, Que la houle incline en silence, Ne prennent pas garde aux berceaux, Que la main des.femmes balance. All along the port, the big vessels, · That the swell sways in silence, Pay no regard to the cradles That the hands of women rock. Mais viendra le jour des adieux, Car iifaut que !es femmes pleurent, Et que !es homes curieux, Tentent !es horizons qui leurrent! But it will come, the day of goodbyes, As it is necessary that women weep, And that curious men Attempt the horizons that lure them! Et ce jour-là !es grands vaisseaux, Fuyant le port qui diminue, Sentent leur masse retenue Par l•âmedes lointains berceaux. And that day, the big vessels, Fleeing the vanishing port, Feel their bulk held back By the soul of the distant cradles. Chanson d'amour Text: Paul-Armand Silvestre (1937-1901) Song of love J'aime tesy eux,j'aime ton front, 0 ma re belle, ôma farouche, J'aime tesy eux,j'aime ta bouche Où mes baisers s 'épuiseront. J 'aime ta voix,j'aime l'étrange Grâce de tout ce que tu dis, 0 ma rebelle, ômon cher ange, Mon en.fer et mon paradis! I love your eyes, I love your forehead, 0 my rebel, o my fierce one, I love your eyes, I love your mouth Where my kisses will exhaust themselves. I love your voice, I love the strange Grace of all that you say, 0 my rebel, o my dear angel, My hell and my paradise! J'aime tout ce qui te fait belle, t cheveux, De tes pieds jusqu 'àtest 0 toi vers qui montent mes vœux, rebe rebelle! ma 0 ma farouche, ôma I love all that makes you beautiful, From your feet to your hair, 0 you, toward whom my wishes rise, 0 my fierce one, o my rebel! � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 sound disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 49:06 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149632">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149632</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Briana Sakamoto, soprano, junior recital, April 25, 2009 Recital Tape 2009-4-25b Description An account of the resource Works of Donaudy, Schubert, Hensel, Bond, Fauré, Sondheim. Held at 7:00 p.m., April 25, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Lawson, William James Sakamoto, Briana Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-25 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/b7932404f0a2a2a4e83be3a963a026bc.pdf ef389067f07ff2e3484561a414121265 PDF Text Text BINGHAMTON UNIVERSITY S TATE UNIVERSITY OF NEW YORK usi D E P A R T M E N T GREGG ACKERMAN CLARINET with Pej Reitz, piano Sibongile Boyd, soprano James Wu, clarinet 14, March, 2009 3:00 p.m. Casadesus Recital Hall ��PROGRAM ini Concertzno ................. ...................... .... ..... .. .......... .... Gi1useppe T art1n1 I. Grave II. Allegro Molto III. Allegro Risoluto (1692-1770) Sonatina .............................. .. ........................................ Miklos R6zsa Terna con variozioni (1907-1995) Der Hift auf dem Felsen, op.129 .................................Franz Schubert (Shepherd On The Rock) (1797-1828) Andantino Allegretto INTERMISSION Preludes for Piano .................................................. George Gershwin I. Allegro ben ritmato e deciso (1898-193 7) II. Andante con moto e poco rubato III. Allegro ben ritmato e deciso Concertipiece No. 2, Op.114 ................................ Felix Mendelssohn Presto ( 1809-184 7) Andante Allegretto Grazioso �PROGRAM NOTES Giuseppe Tartini (1692-1770) Concertino Concertino is Gordon Jacob's free arrangement of two of Giuseppe Tartini's Sonatas for Violin for Clarinet and String Orchestra or Piano. Miklos Rózsa (1907-1995) Sonatina Hungarian-American composer Miklos R6zsa is best known for his film scores. (Three have won Oscars.) His Sonatina was composed in 1957 and dedicated to the Polish-American song writer and film score composer Bronislaw Kaper. Franz Schubert (1797-1828) Der Hirt auf dem Felsen, D 965 Text after Wilhelm Miiller's poem "The mountain shepherd" Translation: Lionel Salter Wenn auf dem hochsten Fels ich steh, ins tiefe Thal herneider seh, und singe, und singe, fern aus dem tiefen, dunkeln Thal schwingt sich empor der Wiederhall, der Wiederhall der Klilfte. When on the highest cliff I stand, gaze down into the deep valley and sing, the echo from the ravines floats upwards from the dark valley far away. Je weiter meine Stimme dringt, Je heller sie mir wiederklingt, von unten, von unten. Mein Liebchen wohnt so weit von The further my voice travels, the clearer it returns to me from below. So far from me does my love dwell that I yearn for her more ardently over there. mir, drum sehn ich mich so heiB nach ihr hinüber, hiniiber. In tiefem Gram verzehr' ich mich, mir ist die Freude hin, aufErden mir die Hoffnung wich, ich hier so einsam bin, icR hier so einsam bin. With deep grief Iam consumed, my joy is at an end; all hope on earth has left me; I am so lonely here, I am so lonely here. �PROGRAM NOTES continued So sehnend klang im Wald <las Lied, so sehnend klang es <lurch die Nacht, die Herzen es zum Himmel zieht mit wunderbarer Macht. So longingly sounded the song in the wood, so longingly it sounded through the night, drawing hearts heavenwards with wondrous power. Der Fruhling will kommen, der Frühling meine Freud, nun mach ich mich fertig zum Wandern bereit. Spring is coming, Spring, my joy; now I will make ready to go journeying. George Gershwin (1898-1937) Preludes for Piano Preludes for Piano have been arranged for clarinet and piano by James Cohn. They demonstrate Gershwin's talent for interweaving jazz and classical elements. Felix Mendelssohn (1809-1847) Concert Piece No. 2 in D Minor (Op. 114) Felix Mendelssohn wrote two concert pieces for clarinet, basset horn and piano in 1832. Both were inspired by virtuoso clarinetist Heinrich Baermann. The pieces have been arranged for numerous instrumental combinations, including clarinet, bassoon and orchestra/piano, and two clarinets and orchestra/piano. --Sarah Chandler �ABOUT THE PERFORMERS GREGG ACKERMAN, from Great Neck, New York, is an accounting major and will be graduating this May. Gregg has been playing clarinet for thirteen years, including his four years in the University Orchestra. Before college, he played in many ensembles including the Children's Orchestra Society, the Band of Long Island, and the Great Neck Rotary Band. He also performed in the NYSSMA All-County Band and Orchestra and the All-State Wind Ensemble. During his time at Binghamton University, he has studied under Timothy Perry and Sarah Chandler. He would like to thank both of them for their lessons and guidance. Gregg also thanks his family for always encouraging his musical pursuits. Hailed for her "lyrical and warm singing voice," Brooklyn native SIBONGILE BOYD, a cum laude graduate of Harvard University, made her operatic debut with Harvard's Dunster House Opera as Yvette in Puccini's La Rondine and later appeared as Barbarina in Mozart's Le Nozze di Figaro. After graduating from Harvard, Ms. Boyd continued her vocal pursuits through opera and performance workshops and was featured in vocal recitals at numerous churches and concert venues in New York City and Washington DC. She performed opera roles with the Shaker Mountain Performing Arts Festival, Natchez Festival of Music, Cantiamo Opera, and the Opera Company of Brooklyn. Ms. Boyd has given recital and chamber performances at the Brooklyn Museum of Art, the Sumner Museum (Washington DC), and the Merck Concert Series (appearing with the Manchester String Quartet). In the 2007-08 ·season, Ms. Boyd was a Resident Artist with Tri-Cities Opera, where she sang the role of Beauty in Giannini's Beauty and the Beast. Ms. Boyd is in her second year in the Masters of Music program at Binghamton University, where she recently performed the roles of Gabriel and Eve in Haydn's The Creation. She recently performed the role of Zerlina in Delaware Valley Op.era's production of Don Giovanni and appeared in recital at Bargemusic (Brooklyn) and the Dweck Performing Center for Contemporary Culture (Brooklyn Public Library). JAMES WU is a first year student enrolled in Binghamton University's Harpur College of Arts and Science. Before college, he was enrolled in the Manhattan School of Music's Precollege program, where he received formal music training. He also played in many ensembles including the Manhattan School of Music's Philharmonic Orchestra, various chamber groups, and his high school band. �The fourth and final concert of this season will be performed Saturday, March 21st at 8 pm Presbyterian Church, _42 Chenango S . Series will be continued in 2 0 NNGHAMTON VE R S I T y IIV E R ·OF NEW YORK For tickets, call (607) 777-ARTS. For more_ ]nformation, visit the Binghamton University Mus sic Department's website at music.binghamton.edu· �Saturday, March 14th Master's Recital: Heather Montana, soprano, Casadesus Recital Hall, 8:00 PM, FREE Sunday, March 15thGuest Fortepiano Concert: Stefania Neonato, Casadesus Recital Hall, 3:00 PM, $$ Sunday, March 15'11 Master's Recital: Sibongile Boyd, soprano, Casadesus Recital Hall, 7:30 PM, FREE Monday, March 1 6th Master Class with Guest Fortepiano Artist Stefania Neonato, 7:30 - 8:45 PM, Casadesus Recital Hall, FREE Wednesday, March 18th Master Class with Jazz saxophonist Maceo Parker, 4:00 PM, Osterhout Concert Theater (Co-sponsored by the Music Department and the Harpur Jazz Project) Wednesday, March 18thJazz saxophonist: Maceo Parker Osterhout Concert Theater, 8:00 PM, $$, (Co-sponsored by the Music Department and the Harpur Jazz Project) Thursday, March 19thMid-Day Concert, 1:20 PM - FREE Casadesus Recital Hall Thursday, March 19th Harpur Chorale and Women's Chorus: A Mediterranean Choral Cruise, Anderson Center Chamber Hall, 8:00 PM, FREE Friday, March 20thPercussion Duo: Mike Correa and Gene Koshiniski, Casadesus Recital Hall, 8:00 PM, FREE (co-sponsored by the United States Air Force Band and the Binghamton University Department of Music) Saturday, March 21st Master's Recital: Stephen Brooks, bass, Casadesus Recital Hall, 8:00 PM, FREE Saturday, March 21st Organist Jonathan Biggers -A Bach Celebration!! Series, First Presbyterian Church, Binghamton,8:00 PM, $$ For ticket information,please call the Anderson Center Box Office at 777-ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 45:22 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149635">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149635</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) FacingCover Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gregg Ackerman, March 14, 2009 Recital Tape 2009-3-14b Description An account of the resource Works of Tartini, Rózsa, Schubert, Gershwin, Mendelssohn. Held at 3:00 p.m., March 14, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Reitz, Margaret Boyd, Sibongile Wu, James Ackerman, Gregg. Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-03-14 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/11a0dfca3bca00ef1cde36c9fe697d74.pdf 534d9fb5652634b219a9e5298441122d PDF Text Text BINGHAMTON U N I Y E R S I T Y S T A T E   U N I V E R S I T Y   O F  N E W   Y O R K d e c [4   E N T BLE F A R T M COUNTERPOINT C E L E B R AT I N G  W OMEN IN T H E  A RTS MOBIUS ENSEMBLE Janey Choi, violin Roberta Crawford, viola Stephen Stalker, cello Michael Salmirs, piano Wendy Wan­Ki Lee, guest speaker Thursday, March 5, 2009 8 : 1 5  p. m . Casadesus Recital Hall �ABOUT T H E  PERFORMERS PROGRAM WENDY WAN­KI L E E  is a composer­pianist­t heorist. She is currently an  Assistant Professor of  Music Composition at  the Chinese University of Hong Kong. Three Romances for Piano, Op. 11...............Clara Wieck­Schumann (1819–1896) Andante Andante Moderato { i Michael Salmirs, piano \ 1 Sonata for Viola and Piano Impetuoso Vivace Adagio ...........Rebecca Clarke (1886–1979) Roberta Crawford, viola Michael Salmirs, piano My Cagey Companions (world premiere).......... Wendy Wan­Ki Lee (b. 1977) Mobius Ensemble Janey Choi, violin Roberta Crawford, viola Stephen Stalker, cello Michael Salmirs, piano Please join us for a receptio n and viewing of the Art Museum’s March Exhibit directly following tonight’s performance. The Art Museum  is located on the second floor of the Fine Arts Building. i 1 1 As  an  avid  advocate  of  contemporary  works  with  diverse  musical interests, her music has been performed extensively in Asia and No rth America.  She  is  the  recipient  of  numerous  composition  and  piano performance awards, commissions, grants, and honors, including those from the American Academy of Arts and Lette rs, Aspen Music Festival, Banff School of Arts, Orford Arts Center, Hong Kong Arts Development Council,  and  the  Government  of  Canada.  A  frequent  clinician  and presenter,  she  has  been  invited  to  conduct  lectures  and  recitals  at international conferences and universities, such as those organized by the Asian Composers’ League, College Music Society, International Soc iety of Contemporary Music, MidAmerican Cente r for Contemporary Music, and Society for Composers, Inc. Recent activities include a commission and guest composer residency at the University of Idaho, where her new piano work (Kirie) along with several of her other compositions were performed. Current research focuses on conte mporary music by Chinese and Chinese/American composers. Her detailed biography is listed in the 2007–2009 publications  of Marquis’  Who’s  Who in  America,  Who’s Who of American Wom en, and Who’s Who in the World. Prof.  Lee  received  her  graduate  degrees  (Ph.D.,  M.M.)  in  Music Composition  and  Theory  at  the  University  of  Michigan,  a  B.M.  in Composition  from  the  University  of  Toronto,  as  well  as  piano performance diplomas from the Royal Conservatory of Music in Toronto (ARCT) and Trinity College of London (LTC L and FTCL). During her studies, she was awarded many prestigious fellowships and scholarships. Her  composition  teachers  include  William  Bolcom,  Chan  Ka  Nin, Christos  Hatzis, and  Bright  Sheng;  her piano teachers  include  Larysa Kuzmenko, Boris Lysenko, and John Nauman. Prior to her appointment at  CUHK,  she  has  held  teaching  positions  at  the  Oberlin  College Conservatory of Music, State University of N ew York at Binghamton, and the University of M ichigan. Professor Lee’s visit is funded in part by an anonymous donation to the Music Department. �Canadian­born violinist JANEY CHOI joined the faculty of Binghamton University in 2006. Dr. Choi attained her Doctor of Musical Arts degree at Rutgers  University,  studying  with  Arnold  Steinhardt,  and  holds  her Bachelor and Masters degrees from The Juilliard School where her major teachers were Joseph Fuchs and Joel Smirnoff.  She gave  her Carnegie Hall recital debut in 1997 as a winner of the Artists International Auditions and continues an active performing career as a recitalist, chambe r, and orchestral musician throughout the country and abroad. She is the rec ipient of  numerous  awards  including  the  Ontario  Arts  Council’s  Chalmers Performing Arts Training Grant, and First Prize in the National Finals of the  Canadian  Music  Competition.  Ms.  Choi  has  participated  in  such festivals as Mostly Mozart, Juilliard’s Focus Festival, Norfolk, Taos, the Spoleto Festivals, Festival Musical de Santo Domingo, the Santa Fe Opera and the Sarasota Opera. An avid inter­arts and cross­genre collaborator, she  is  the  Music  Director  of Thomas/Ortiz  Dance, and  has  performed numerous times with the  Parsons Dance Co. at  the  Kennedy Center in Washington, D.C.  She has recorded and appeared with such mainstream performers  as  Bono  and  Quincy  Jones,  Enya,  Elton  John,  Sarah McLachlan, Lisa Loeb, Kanye West, Jay­Z and Beyoncé. Ms. Choi is a Teaching Artist for the New York Philharmonic, Lincoln Center Institute, Chamber Music Society of Lincoln Center and the Bloomingdale School of Music in New York City. ROBERTA CRAWFORD, violist, performs extensively as a recitalist and chamber musician. As associate director and a founding membe r of the Finger Lake Chamber Ensemble, Ms. Crawford has participated in over one hundred solo, chamber, and lecture­recitals presented  by the ensemble  since  its  formation  in  1990.  She  has  performed  with  the Catskill Chamber Players, appeared frequently on the Cayuga Cham ber Orchestra’s Sunday Chamber Music Series and has been a guest artist with the Ariadne String Quartet. Ms. Crawford’s orchestral experience includes performances with the  Portland and Syracuse symphonies as well  as  the  Skaneateles  Festival  Orchestra,  and  she  has  served  as principal violist for the Cayuga Chamber Orchestra. An advocate of new music, Ms. Crawford has premiered numerous works featuring viola and has been the dedicatee of several works written specifically for her. She has participated in  music festivals throughout the United States and in the Caribbean and has appeared in live performance broadcasts for public radio and television. A dedicated teacher, Ms. Crawford has served as clinician, coach, and adjudicator for numerous music organizations, as Director of ViolaF est at Binghamton and is an artist faculty member with NYASTA ’s  String  lnsitute  at  Ithaca  College.  She  has  been  a  guest faculty member at Phillips Academy, the Quartet Program, Ithaca College, and the Eastman School of Music and is Coordinator of Strings at Binghamton University. ST E P H E N  ST A L K E R ,  cellist, teaches at Binghamton University. He I l I l formerly  taught  at  Colgate  University,  Mansfield  University,  Ithaca College and the Binghamton City School District. He was the principal cellist  of  the  Cayuga  Chamber  Orchestra  in  Ithaca,  NY,  and  has performed extensively with the Catskill Chamber Players of Oneonta, NY, and  in  concerts at  Binghamton  University.  Performing  with  the Catskill Chamber Players he has presented Meet the Composer concerts with  prominent  American  composers  including  John  Cage,  Virgil Thomson,  Lou  Harrison  and  George  Crumb.  The  Chamber  Players appeared at Weill Recital Hall,  premiering a set of four string quartets by Henry Brant. With violinist, Janet Brady, and pianist, Walter Ponce, he performed the complete Beethoven Trio cycle at SUNY­Binghamton. He performed with Solisti New York on their Alaskan cruise of the Inner Passage from Vancouver to Juneau. As a member of the Madison St ring Quartet, he was a finalist in the Naumberg Chamber Music Competition in  New  York  City  and  the  Evian  International  String  Quartet Competition  in  Evian,  France.  He  has  performed  in  many  recital appearances with pianist, Michael Salmirs. He performs regularly with the Trio Amici, Trilogy, Baroque ‘n Blue, Early On and in concerts at Binghamton University.  He is a past president of the New York State Chapter of the American String Teachers Association and was Strings Chair for the New York State School Music Association.  He is a founder of the Southern Tier Music Teachers Association and the Binghamton Cello  Festival. He is a graduate of the Manhattan School of Music in New York City. Pianist M I C H A E L  SALMIRS, a founding member and artistic director of the Finger Lakes Chamber Ensemble, is well known as a recitalist and chamber  musician.  He  has  appeared  as  soloist  with  the  Corning Philharmonic,  Binghamton  University  Orchestra,  Cayuga  Chamber Orchestra, and is frequently a featured pianist on their Sunday Chamber Series. In addition to performing most  of the standard chamber music repertoire for strings and piano, he  has premiered  numerous solo and chamber works, and recently gave the world premieres of David Liptak’s and  Marek  Harris’  Piano  Quintets.  He  has also  participated  in  such contemporary music series as Binghamton  University’s  Musica  Nova, Cornell University’s Ensemble X, Chiron, and has toured and recorded for the Syracuse Society for New Music. �7 ) 7  7 ( ~   [  4  1 5  4 ,   ,  »  c f   & ’ /   C F   “ A s   {  “ 4  £  hony Orchestra: Echoes of the   Saturday, March 7 ” University Symp East ­ Orchestral Orientalism, Osterhout Concert Theater, 8:00 PM, $$ 5 Symphony, 3:00 PM, FREE   S u n d a y,  M arch 8 ” University Wind  Anderson Center Chamber Hall   id­Day Concert, 1:20 PM ­ FREE Thursday, March 1 2 ” M Casadesus Recital Hall Saturday, March 1 4 ” S tudent Recital: Gregg Ackerman, clarinet, Casadesus Recital Hall, 3:00 PM, FREE : Heather Montana, soprano,   Saturday, M arch 1 4 ” Masters Recital Casadesus Recital Hall, 8:00 PM, FREE Sunday, March 1 5% Guest Fortepiano Concert: Stefania Neonato, Casadesus Recital Hall, 3:00 PM, $$ : Sibongile Boyd, soprano,   Sunday, March 1 5 Master’s Recital Casadesus Recital Hall, 7:30 PM, FREE M a y  1 ­ 8 : 0 0 M a y 3    + 3 : 0 0   aster Class with Guest Fortepiano Artist Monday, March 1 6 ” M Stefania Neonato, 7:30 ­ 8:45 PM, Casadesus Recital Hall, FREE   aster Class with Jazz saxophonist Wednesday, March 1 8 ” M Maceo Parker, 4:00 PM, Osterhout Concert Theater (Co­sponsored by the Music Department and the Harpur Jazz Project) K ON  N Wednesday, March 1 8 ” J azz saxophonist: Maceo Parker ­ Osterhout Concert Theater, 8:00 PM, $$, (Co­sponsored by the Music Cofouncers Carman Bevo A Peyton  HRB RE Department and the Harpur Jazz Project) t, 1:20 PM ­ FREE   Thursday, March 1 9 Mid­Day Concer Casadesus Recital Hall The Forum Theatre 236’Washington Street « Binghamton, NY Ap)  For tickets call 807­772­0400 or visit us online at Mirwtricitieso  Jacom.  *: f m s h d n w m m ­ d w F H r u d C d i r n h f t m a n h n ‘ p fl f u i a fi c t d i r d itaotslu anu d’,ppencm aeny Al mr rtds, » SCEw G ln m d n m C ­ h fi Y M h M M G a k fi w fi l P d m n a m h n f d b l p M un oe Cth G  pgm    s Pl  F A pert, bvlw’nfiwnTh­mflwabpm Fund’s  T provided, n  y. Fndrg m  fi f t y “   pp  c o c p a r s t i c n no hte  Aatr. Sais To m l i n   arpur Chorale and Women’s Chorus: A Thursday, March 1 9 ” H Mediterranean Choral Cruise, Anderson Center Chamber Hall, 8:00 PM, FREE For ticket information, please call the Anderson Ce nter B o x  O ffice at 777­ARTS. �W S K G  P ublic B roadcast ing Your source for locally hosted Classical, Folk dio   ¢ ’Jazz Ra and for [featuring the A rt  & Artists of the S outhern  Tier Thursdays on WSKG  Television 19, G ws ' Lorg WSKG T V   «  WSKG Radio  *  WSQX 91.5 im � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 51:46 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149716">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149716</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Counterpoint: celebrating women in the arts, March 5, 2009 Recital Tape 2009-3-5b Description An account of the resource Works of Wieck-Schumann, Clarke, Wan-Ki Lee. Held at 8:15 p.m., March 5, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Mobius Ensemble: Choi, Janey Crawford, Roberta Stalker, Stephen Salmirs, Michael Wan-Ki Lee, Wendy Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-03-05 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/0d21c7a6b105064ae254492f8b5ad82c.pdf 196a497a2d2363acf82c8440d5eda95d PDF Text Text BINGHAMTON Y R I Y E R D I ST A T E   U N I V E R S I T Y   O F   N E W   Y O R K (4 CESEC D E P A R T M E N T The Bingham ton University Sym phon y O rchestra presents MUSIQUE F ANTASTIQUE with Timothy Perry, Cond uctor Saturday, May 2, 2009 8:00  p.m. Osterhout Concer t Theater �PROGRAM ' M M M … W M l I { } I Than kyouforattendin gtoday’sconcer t . We appreciate yo ur suppor t of our outstanding student­musicians ! Please join the Orchestra for its exciting 2009­2010 season: October 14” ACA Gala with the Paul Taylor Dance Com pany December 12” Mus ic Depar tment Gala “Facul ty Fireworks!” March 6” Winners of the USO Concerto & Aria Competition May 1 * Spring Concert P rogram to be annou nced ) ni  D it  D daie  D L a ti D La CPE)  ani  VCL  eit  D at i O Symphonie Fantastique, Op. 14 ( 1 8 3 0 ) . . . Reveries.  Passions. I.  Un bal II.  ps Scène aux cham III.  ­  IV.  ­  Marche au supplice­ Songe d ’une nuit du Sab bat bg  .Hector Berlioz (1803­1869) i {i { l ! l Intermission l ! l i 1 & ! } i i !H Î {{ } Î Suite (1919) from L ’Oiseau de Feu. ... (The Firebird) Introduction­ L ’oiseau de feu et sa danse – Variation de l’oiseau de feu Ronde des princesses – Danse infernale du roi Kastcheï – Berceuse — Finale (­ leading directly to the next movement w ithout pause) ‘ ……… . Igor Stravinsk y (1882­1971 ) �ABOUT THE MUSIC W e  close this season with two works of prodigious creativity that blend the concepts, and test the limits, of musical form and musical fantasy.  Separated by a span of eighty years, both premiered in  Paris and each represents a watershed moment in music history, works that epitomize that recent popular­ cultural and advertising phrase ‘this changes everything ’. Berlioz’ programmatic symphony serves,  more  than  any other work, as the dividing line leaving Classicism for Romanticism; Stravinsky’s ballet is one of a handful of works whose premieres served to close that Romantic period. In each case, the composition launched a major career; in each case the composer was not yet thirty years of age; each  pushes the possibilities of the orchestra outwards, both technically and timbrally, to unheard­of extremes. Finally, in  a way few compositions do, each preserves through its freshness and originality a certain quality of mystery and magic, which I hope that you will experience with us this evening. – TP over the winter months of 1909­1910. The story draws from several versions folk fairy­ tales about Prince Ivan and the mythical Firebird. In  Slavic tales the Firebird represents a ‘Quest of the Hero’; if caught, the bird will  employ its powers  (here, to help Ivan free the princesses) in  return  for its release.  (The plot synopsis of the ballet follows these program notes.) ’j .\ # 0   D  D Berlioz’ Symphonie Fantastique had  its genesis in the composer’s romantic obsession  with  the  English  actress  Harriet  Smithson  (whom  he  first saw  in  1827, married in 1832 and divorced in 1844).  Driven by a (false) rumor of Smithson’s affair with her manager, Berlioz created the work in a white­heat of jealous inspiration. The symphony  traces  in  its  five  movements  an  arched  progression  of their  fantasized relationship as experienced by “a young musician of unhealthily sensitive natu re an d endowed with vivid imagination”: I.  Idealized love; II. Actualized love; III. Happiness, suspicion and betrayal; IV. Negation of actualized love; V. Negation of idealized love. (Berlioz’ full ‘program ’ follows these program notes) The famous idée fixe  ­ the theme of the beloved ­ opens the faster section of the first movement,  and  appears throughout  the  work  as a continuous  musical  marker  that Berlioz varies with the psychological context of the situation.  All movements except the  first  employ a  real­life  context as metaphors for the  emotional  progress of the turbulent and ultimately doomed romance. The work  fairly  bristles with  Berlioz’ brilliant and innovative orchestration ranging from the English horn­oboe duet in  the third movement pastorale to the col legno (tapping the string with the wood of the bow) effects from the Witches’ Sabbath to the four­player timpani chords that imitate distant thunder at the conclusion of the third movement.  All elements are given new flexibility in the service of the ‘fantastic ’. Berlioz’ dynamic (volume) markings are pushed to pppp levels never before req uested and the balance of all  parts  is  marked with  extraordinary care.  Harmonic invention includes the juxtaposition of seemingly unrelated chords, creating a number of  ‘sound effects’. Finally, the phrase structure employs extensions and elisions and freq uently departs from the 2­4­ and 8­bar norm of the period. As Berlioz biographer David Cairns remarks,  “Berlioz in the  ‘Fantastic ’ Symphony was  s peaking a new language : not only a new language of orchestral sound...but also a new language of feeling.” The  Firebird  was  the  first  of  the  three  ballet  scores  composed  by  Igor Stravinsky  between  1910  and  1913  for  Serge  Diaghilev’s  Ballet  Russe  company ( Petroushka and The Rite of Spring completing the trio).  Stravinsky worked from the scenario by Mikhail Fokin, to which he also contributed, composing the score in Russia Musically, the entire ballet derives from the first six­notes of the score.  The compositional processes Stravinsky employs with this thematic ‘interval cell’ built on the tritone interval are much closer to those used by his contemporary Bela Bartok than to the Russian school in which Stravinsky trained. The original orchestration is large, complex  and  brilliant, and while  showing  much  influence  of Stravinsky’s teacher, Rimsky­Korsakov, goes into  uncharted territory in terms of musical effects like the harmonic  slides  of  the  Introduction  and  the  virtuosic  fluttering  in  the  firebird’s ‘Variation ’. Tonight’s 1919 suite is scored for a standard symphonic orchestra and joins suites completed in  1910 and 1945 by the composer.  The work was rehearsed in  St. Petersburg with  final  preparation  in  Paris from  May  1910. The  premiere  proved  a triumph  for  the  dance  company  and  the  composer  and  established  Stravinsky ­TP April 2009 permanently at the forefront of Parisian musical life.   ELK K K BERLIOZ’S SYMPHONIE FANTASTIQUE: Composer’s Note The composer’s intention has been to develop, insofar as  they contain musical possibilities,  various  situations  in  the  life  of  a n   artist.  The  outline  of  the instrumental drama, which lacks the help of words, needs to be explained in advance. The following program should thus be  considered as  the spoken text  of an  opera, serving to  introduce  the  musical  movements,  whose  character  an d expression  it motivates. [ \ PROGRAM FROM THE PUBLISHED SCORE A young musician of unhealthily sensitive nature and endowed with vivid imagination has poisoned himself with opium in a paroxysm of love­sick despair. The narcotic dose was too weak to cause death, but it has thrown him into a long sleep accompanied by the most extraordinary visions. In this condition, his sensations, feeling, and memories find utterance in his sick brain in the form of musical imagery. Even the beloved one takes the  form of melody in  his  mind, like an ever­returning idée fixe that  he  hears everywhere. Ist movement : Visions and Passions. At  first, he thinks of the  uneasy and nervous condition of his mind, of sombre longings, of depression and joyous elation without any recognizable cause, which he experienced before the beloved one had appeared to him. Then he remembers the ardent love with which she suddenly inspired him; he thinks of the almost insane anxiety of his mind, of his raging jealousy, of his re­awakening love, and of religious consolation. 2 nd movement : A Ball. In a ball­room, amid the confusion of  a brilliant festival, he finds the beloved one again. �3rd movement : Scene  in  the Country. On a summer evening, he  is  in  the country musing when he hears two shepherd lads playing the ranz des vaches (a tune used  to call flocks together) in alternation. The shepherd­duet, the location, the soft whisperings of  the  trees  stirred  by  the  zephyr­wind,  remembered  hopeful  prospects­­all  these sensations unite to impart a long­unknown repose to his heart and lend a smiling color to his imagination. A nd then she appears once more. His heart stops beating as painful forebodings fill his soul: “ What if she should prove false to him?” One of the shepherds resumes the melody, but the other answers him no more. ... Sunset ... distant rolling of thunder ... loneliness ... silence. 4th movement : March to the Scaffold. He dreams that he has murdered his beloved­ that he has been condemned to death and is being led to the scaffold.  A march that is alternately sombre an d wild, brilliant and solemn, accompanies the procession. ... The tumultuous outbursts are  followed  without  modulation  by  measured steps. The idée fixe returns; for  a moment a  last thought of love  is  revived­­which is cut short by the death­blow. 5th  movement : Dream of a  Witches’ Sabbath.  He dreams  that  he  is  present  at  a witches’ dance, surrounded by horrible spirits, amid sorcerers and monsters in  many fearful forms, all come to attend his funeral. Strange sounds are heard­­ groans, shrill laughter, distant yells, which other cries seem to answer. The beloved melody is heard again, but it has lost its noble and shy character, and become a vulgar, trivial, grotesq ue kind of dance. It is she who now comes to attend the witches’ sabbath. Friendly howls and shouts greet her arrival ... she joins the infernal orgy ... bells toll for the dead ... a burlesque parody of the Dies Irae ... the witches’ round­dance ­the dance and the Dies Irae are heard together. L ’OISEAU DE FEU ( THE FIREBIRD): SYNOPSIS Stravinsky’s ballet ce nters on the journey of its hero, Prince Ivan. Ivan enters the magical  realm of Kashchei the Immortal; all  of the  magical objects and creatures of Kashchei are herein  represented  by a chromatic descending motif, usually in the strings. While wandering in the gardens, he sees and chases the Firebird. The Firebird, once caught by Ivan, begs for its life and ultimately agrees to assist Ivan in exchange for eventual freedom . U n i v e r s i t y  S y m p h o n y  O r c h e s t r a  Timothy Perry, Conductor Flute/Piccolo* Tae Kim SuYeon  Oh* Valerie Spiller Missy Voldan* Oboe/Eng. Horn* Valerie Hammel Maxwell Rosenberg* Katie Warner Clarinet/E­flat* Gregg A ckerman* Matthew Hassel James Wu Jonathan Yousefzade h* Bassoon Daniel Bessel Paige Elliott Kristin Grennan Franch Horn Diana Amari Zack Arenstein Zachary Birnbaum Kirstie Cummings Next, Prince Ivan sees thirteen princesses, with one of whom he falls in love. The next day, Ivan chooses to confront Kashchei to ask to marry  one of the princesses; the  two  talk  and  eventually  begin  quarreling.  When  Kashchei  sends  his  magical creatures  after  Ivan,  the  Firebird  ­ true  to  its  pledge  ­  intervenes,  bewitching  the creatures and making them dance an elaborate, energetic dance (the “Infernal Dance") . Trumpet The creatures and Kashchei then fall asleep; however, Kashchei awakens and is  then  sent  into  another  dance  by  the  Firebird.  While  Kashchei  is  bewitched, the Firebird  tells Ivan the secret  to Kashchei’s immor tality and Ivan destroys it,  killing Kashchei. Jay Bartishevich Rob Menard Chris Mann With Kashchei gone  and his magic broken, the magical creatures and palace all disappear.  All of the “real” beings (including the princesses) awaken and, with one final fleeting appearance from the Firebird, celebrate their victory and freedom. Dan Brisk Daniel Fein Tim O’Brien Trombone Tuba Percussion/Timpani Amanda Jacobs Stephanie Lehman Brian Lindenbaum Gavin Osterhoudt Lee Vilinsky Violin ! Griffin Sargent Michael Chin Richard Law Amy Honigsberg Alicia Koepke Emily Wong Margaret Yoon Gregory G. Greene Eric Lewis­Clark Solomon Dawson Jehwan Lee Hemangi Shah Jin Park Amy Su Violin Il Elizabeth Sterling Molly Ariotti Erin Chang Jenny Raphael Ye­Won Kwak Hyeyon Seo Nicole Boucicaut Paul Beechner Xiang He Rebecca Velez Jane Evans Elizabeth Joyce Viola Maxim Pekarskiy Sarah Sterling Janet Levins Albert Kim Jeffrey Kohn Shane Thorn Stephanie Chaung William Grandin Jodi Ezratty Jacquelyn Emmons Felicia Korenstein Violoncello Dam Soh Jennifer Chen Ryan Joyce Taylor Reitmeier Daniel Copel Ronit Rapaport Adam Engel Contrabass David Katz Rachel Casey Melanie Clark Owen Domber t The USO employs rotati ng seating; Woodwinds, Brass an d Percussion rotate by compostion an d are listed alphabetically.  Strings rotate by concert an d  are listed in seating order. Congratulations a n d  best wishes to our graduatin g members (+ ) �Bingha mtonU nivers ityMus icDepa rtment ’s UPCOMING EVENTS S u n da y, Ma y 3 ™ Masters Recital: J enean Truax, soprano, Casadesus Recital Hall, 3:00 PM, FREE     Percussion Ensemble, 8:00  PM, FREE T uesday, M a y 5 Anderson Center Ch amber Hall Thursday, May 7” Student Recognition Mid­Day Concert, Casadesus Recital Hall, 1 :2 0  PM, FREE   ”  Harpur Chorale an d Women’s Chorus, Th ursday, M a y 7 Anderson Center Chamber Hall, 8:00 PM, FREE n University African Music Ensemble,   Friday, M a y 8  ” Binghamto Casadesus Recital Hall, 8:00 PM, FREE Saturda y, May 9 ”  Hindustani (North Indian) Classical: Tomek Regulski, Casa desus Recital Hall, 8:00 PM, FREE   asters Recital: Jonathan Moots, baritone, Casadesus S u n da y, Ma y 1  0 ” M Recital Hall, 3:00  PM, FREE (tentativ e ) For ticket information, please call the A nderson  Center Box Office a t  777­ARTS. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 2 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 55:47 21:44 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149870">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE149870</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Binghamton University Symphony Orchestra presents Musique fantastique, May 2, 2009 Recital Tape 2009-5-2b Description An account of the resource Held at 8:00 p.m., May 2, 2009, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource Perry, Timothy Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-05-02 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/84a57a0f74d8146a05d509a7ee22922c.pdf 02254cb1bc030244c3a8a406a18137e0 PDF Text Text BINGHAMTON U N I V E R S I T Y S T A T E   U N I V E R S I T Y   O F  N E W   Y O R K o d e [4 D E P A R T M E N T S I N G  I N T O  S P R I N G Women ’s Chorus Christine Ryder, conductor Harp ur Chorale Peter Browne, conductor Thursday, May 7, 2009 8:00 p.m. Anderson Center Chamber Hall �PROGRAM Traditional American Arr. Aaron Copland Ching­a­Ring Chaw  ‘  ‘  i  r \ ’  i  Northumbrian Folksong Arr. John Clements Blow the Wind Southerly...  ..........................Japanese Folksong Kokiriko Bushi..  Arr. Wendy B. Stuart Ain­a­That Good News..................  J i  Set Me asaSeal............. ..African­American Spiritual Arr. William Dawson ............René Clausen I How Can I Keep  from  Singing  Robert Lowry Arr. Robert I. Hugh Samantha Van Ad elsberg and Laura MacAvoy, soloists Boogie Woogie Bugle Boy............ .......Don Raye an d Hughie Prince Arr. Ed Lojeski The Women ’s Cho rus William Lawson, accompanist �Translations Alleluia, Sing a New Song................... Jaeobus Gallus (Jakob Handl) Trois Chansons ...Claude Debussy T rois Chansons .  I. Dieu! qu’il la fait bon regarder! II. Quant j’ai ouy le tabourin III. Yver, vous nestes qu’un villain  Dieu! qu’il la fait hon regarder! ‘ Briana Sakamoto, soloist Elizabeth Sterling, conductor (I. and II.)  Peter Browne, conductor (111. ) } Natasha Bobrowski­Koury, soprano Glenn Parker, tenor Five Hebrew Love SONES..............cocouiecivercnseresssesnesseee. Wh itacre 1. Temuna 2. Kala kalla 3. Larov 4. Eyze shaleg 5. Rakut Briana Sakamoto, soprano Elizabeth Sterling, violin Folk Song  A P P R  cscnivismrsmvisiisismmmiirmniniundiirnisumabomn Folk  Arr. Sonja Poorman Michael Mechmann, fl ute  Donde esta la Ma T e od o r a ? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  C uban Arr. Joaquin Nin­Culmell The Har p u r Chorale Peter Browne, conductor Who could tire of her? Her beauty constantly renews itself; On neither side of the ocean Do I know any girl or woman Who is in all virtues so perfect; It‘s a dream even to think of her; God, what a vision she is. II. Q u a n t   ouy le tabourin When I heard the tambourine Call us to go a­Maying, I did not let it frighten me in my bed Or lift my head from my pillow, Saying, “It is too early, 1 will go back to sleep.” When I heard the tambourine Call us to go a­Maying Young folks dividing their spoils, l cloaked myself in nonchalance, Clinging to it And finding the nearest neighbor. When I heard the tambourine Call us to go a­Maying, I did not let it frighten me in my bed Or lift my head from my pillow. Dan Forest Selah.  God, what a vision she is ; One imbued with grace, true and beautiful! For all the virtues that are hers Everyone is quick to praise her. { \ III. Yver, vous n‘estes q u ’un villain Winter, you ’re naught but a rogue. Summer is pleasant and kind, As we see from May and April, Which accompany it evening and morn. Summer, by nature’s order, clothes fields, woods and flowers With its livery of green And many other hues. But you, Winter, are too full Of snow, wind, rain and sleet. We must send you into exile. I’m no flatterer and I speak my mind. Winter, you’re naught but a rogue. Five Hebrew Love Songs 1 . Tem una A picture is engraved in my heart; Moving between light and darkness: A sort of silence envelops your body, And your hair falls upon your face just so. 2. Kala kalla Light bride She is all mine And lightly She will kiss me! 3. Larov “Mostly,” said the roof to the sky, “the distance between you and l is endlessness; But a while ago two came up here, And only one centimeter was left between us.” 4. Eyze shaleg What snow! Like little dreams Falling from the sky. 5. Ra kut He was full of tenderness; She was very hard. And as much as she tried to stay thus, Simply, and with no good reason, He took her into himself, And set her down In the softest, softest place. (Hila Plitmann) A rirang Arirang, my love is leaving. Arirang, he is going over the hill. The one who leaves me Will not go far without hurting his feet. Donde esta la M a  Teodo ra? Where is she? Where is she, the Ma Teodora? She is flick­flacking the strings with her cane and her guitar strum. �The Women ’s Chorus Christine Ryder, conductor Jennifer Easley and Danielle Sisson, associ ate conductors William Lawson, accompanist Samantha Grieco Sarah Kuras Chelsea Pace Amanda Pachomski Soprano 1 Meredith Collins Catherine Cornell Nicole Katz Laura MacA voy Jessica Pond Christine Ryder Ashley Samuel Samantha van Adelsberg Soprano 2 Molly Adams­Toomey Samantha Banton Kristina Dowling Jennifer Easley Julia Rose Becka Thompson Alto Lauren Anuszewski Floralis Artiles Ilyssa Baine Danielle Barbanell Melanie Clark Rebecca Dinhofer Brianna Jenkins Rita Pesh ko Annie Ferro Kristina Seeley Danielle Sisson The Harp ur Chorale Peter Browne, conductor Soprano Michele Aronson Natasha Bobrowski­Khoury Nuala Gaffey Allison Metcalfe Briana Sakamoto Elizabeth Sterling Lynsey Zuar Alto Daron Blake Ayla Gordon Eliza Espinosa­Thomas Shaina Carmel Indovino Janice Lee Krystiana Resto Sarah Sterling Tenor Alexander Blitstein Jonathan Karlas Ross Matthei Glenn Parker Bass Jonathan Brownell Theodore Chakos Joshua Darfler Michael M. Mechmann Exra Monasebian Robert Operman Mark Rossnage! Theodore Trembinski Upcoming Choral Events For the 2009­2010 Season Family Weekend Concert Women’s Chorus and Harpur Chorale Saturday, October 24, 2009 Osterhout Concert Theater; 3:00 p.m. Beethoven Symphony No. 9 University Chorus and Binghamton Philharmonic Sunday, November 15, 2009 Osterhout Concert Theater; 3:00 p.m. El izabethan Madrigal Feaste Women ’s Chorus and Harpur Chorale Friday and Saturday, December 4­5, 2009 Old Union Hall, Student Union; 6:30 p.m. University Cham ber Chorus Sunday, January 24, 2010 Trinity Memorial Church; 3:00 p.m. Women ’s Chorus an d Har p u r Chorale Thursday, March 18, 2010 Anderson Center Chamber Hall; 8:00 p.m. University Chorus Saturday, April 17, 2010 Osterhout Concert Theater; 8:00 p.m. Spring Concert Women’s Chorus and Harpur Chorale Thursday, May 6, 2010 Anderson Center Chamber Hall; 8:00 p.m. �M a w ­ W M The African Music Ensemble will perform Friday, May 8", at 8:00 p.m. in Casadesus Recital Hall (FREE) Enjoy an evening of Hindustani Classical Music with Tomek Regulski on Saturday, May 9", at 8:00 p.m. in Casadesus Recital Hall (FREE) Jonathan Moots, bass, presents his Master Recital on Sunday, May 10‘", at 7:00 p.m. in Fine Arts Rom 21 (FREE) The Summer Youth  Music Theater Works hop will perform “All Shook Up ” in the Watters Theatre on Saturday, 8/1509, and Sunday, 816/09, at 2:00 p.m. and 7:30 p.m. both days, $$ Our 200 9­2010 Gleason ­ Afous ‘ro S u it ed ! September: The Friedheim Memori al Lecture/Recital : Find out what makes great music “tick ” and then enjoy the composition in performance! Our Bach Celebration series featuring Organist Jonathan Biggers continues the cycle of the complete Organ works of J.S. Bach. BU Alumnus Neil Berg retums to the Osterhout Concert Theater with a spirited tribute to 100+ Years of Broadway. October: The 2009­10 Chamb er Series opens in the Chamber Hall with a Reunion Recital featuring Music Department vocal alumni and faculty. The University Sym phony Orchestra opens the Anderson Center’s 2 5 A nniversary Season in a gala performance with the world­famous Paul Taylor Dance Compan y. The University Win d Symphony, Harpur Chorale, and Women ‘s Chorus combine for a diverse and entertaining concert on Parent’s Weekend (Osterhout Concert Theatre). November; The University Chorus is joined by the Binghamton Philharmonic and soloists for a reading of Beethoven ’s epic Ninth Symphony. December: The Harpur Jazz Ensemble welcomes prominent Jazz artists to the band, turning up the heat with the finest in Big­band literature. Join the Harpur Chorale and Women ‘s Chorus as they provide an assortment of medieval and renaissance vocal entertainment at the Madrigal Dinner. For more information, please visit our website at www.binghamton.edu/music or call 607.777.2592 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 55:42 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE150495">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE150495</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sing Into Spring, May 7, 2009 Recital Tape 2009-5-7b Description An account of the resource Works of Copland, Clements, Stuart, Dawson, Clausen, Lowry, Raye and Prince, Gallus, Debussy, Forest, Whitacre, Poorman, Nin-Culmell. Held at 8:00 p.m., May 7, 2009, Anderson Center Chamber Hall. Creator An entity primarily responsible for making the resource Women's Chorus Ryder, Christine Harpur Chorale Browne, Peter Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-05-07 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 47:57 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE150498">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE150498</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Echoes of the East" : orchestral orientalism, 1783-1933, March 7, 2009 Recital Tape 2009-3-7 Description An account of the resource Works of Mozart, Tschaikovsky, Saint-Saens, Borodin, Ravel, McPhee. Held at 8:00 p.m., March 7, 2009, Osterhout Concert Theater. Creator An entity primarily responsible for making the resource University Symphony Orchestra Perry, Timothy Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-03-07 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 46:09 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE150501">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE150501</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource An afternoon with Debussy : a senior honors recital, April 25, 2009 Recital Tape 2009-4-25 Description An account of the resource Works of Debussy. Held at 3:00 p.m., April 25 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Mallinson, Chai-Kyou Reitz, Margaret Sterling, Elizabeth Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-25 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: Universal Viewer / Rosetta Rosetta audio media Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 3 audio discs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:08:53 35:05 1:16:08 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE151074">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE151074</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Friedheim memorial lecture-recital : audible processes : minimalism & beyond, April 28, 2009 Recital Tape 2009-4-28 Description An account of the resource Works of Reich, Pärt, Adams. Held at 8:00 p.m., April 28, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Perry, Timothy Janey, Choi Reitz, Margaret Mackiewicz-Wolfe, Ewa Salmirs, Michael Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-04-28 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound https://omeka.binghamton.edu/omeka/files/original/186e4e58c17eeddaeff6bea670830a4a.pdf bdab289726dd88c6364b4063a627ab7d PDF Text Text BINGHAMTON U N I V E R S T I X S T A T E   U N I V E R S I T Y  O F  N E W  Y O R K d e e [4 B E F A  R T M   E N T AN E VENING O F  A FRICAN D ANCE P rese nted by : T h e N u k porfe Africa n Da nce–D rum mi ng Ensemble, Bin gham ton University Directed by J a mes Bu rns a n d  P ierrette Aboad ji Friday, May 8, 2009 8 p.m. Casadesus Recital Hall �PROGRAM wINTERMISSION¢3 In  this  program  we  present  an  evening  of  dance­drumming  from  southern Ghana.  The  Nukporfe  Dance­Drumming ensemble is  made  up  of advanced drummers  and  dancers  who  have progressed  through  various  introductory courses  including  the  Beginning  and  Advanced  sections  of  African  Dance (THEA  289J/389J;AFST 289J/389J) and  the African  Music  Ensemble  (MUS 143B/AFST  188B).  These  courses  are  ofiered  each  semester  through  the commonly used to  open dance performances throughout southern Ghana, Togo and Benin. I. Agbekor. Agbekor is a war dance of the Ewe people of Ghana. As the drummers and dancers proceed to the stage in traditional fashion, they sing a war song that calls the warriors to battle against the  European colonial powers. The second song memorializes the great warrior Kundo who led warriors into battle and has been killed. This was originally a war dance of the Ewe people. The movements imitate moments of the battle, and follow the drum language of the lead drum, atsimevu. VII. Togo Atsia. This dance piece is made up of a series of choreographed dance  sequences  known  as  atsia. These  sequences  are  cued  by  drum language phrases [vugbe] played by the lead drummer on atsimevu – the tall drum leaning on the stand – which are answered by the response drum kidi –  the  medium–sized  drum.  In  the  19605,  expert  choreographers  and drummers  in  the  Ghana  Dance  Ensemble  arranged  this  series  of  atisd movements into a performance piece, which they dubbed Togo Atsia, in recognition of their source within Ewe groups in Togo. Departments of Africana Studies, Music, and Theatre Dance. II. Kinka. Kinka is a funeral dance of the southern Ewe. It  only uses one basic movement so that regular members of the community can participate in the dance. III. Kpatsa. This dance comes from a neighboring group of the Ewe, known as the Ga­Adangbe. They share many linguistic and cultural affinities with the Ewe, and these two groups have historically interacted with each other. T he characteristic movement of Kpatsa is a limping gait that imitates t he movements of dwarfs, a magical race of beings which inhabit rural areas in Ghana. These movements were embellished with dance combinations and eventually became a social and recreational dance known as Kpatsa, whose name is an onomatopoeic reference to the movement of dwarfs. IV. Adzokpa  ‘Ele  ‘lodo – ge matso ’ [It is tired, let it fall and I will pick it up!]. In southern Ewe drumming, an adzokpa is an interlude to the main dance(s) consisting of a drum language conversation between the lead drum and the chorus. The lead drum intones the first part of the conversation (before the hyphen) and the chorus intones the second part. The adzokpa presented here is a humorous quip about to a woman’s big buttocks, the drums say, ‘let it fall, we will catch it!” V. Gahu. Gahu is a neo­traditional dance that has been adopted and adapted by the Ewe people of Ghana. It  is an offshoot of the Gome dance, a Pan­ Atlantic  African  dance  form that  emerged  in  the  19” century from  the synthesis  of  European  hymns and  marches  with  West  African  musical sensibilities. The  name Gahu suggests an airplane, and  represents local experiences  with  new  technology  and  culture.  The  songs  are  often humorous and fun, suggesting themes of courtship and celebration. VI. Invocational Song “Hunye de". A music performance typically begins wit h a n invocation consisting of o ne o r m ore songs normally used to notify t he spirits a n d a ncest ors t hat t hey a re goi ng t o pe rfo rm . T h e  p rese nt so ng is VIII. Adzokpa  ‘Kpo towo gbo  d ’asi mado lo, adzianye vi, d ’asi mado lo ’ [Go back home, my love, let me sleep!]. This adzokpa is another humorous tale of an exhausted lover, who begs their partner for a moment of rest.  It could be spoken from the male or female point of view. IX. Sohoun. Sohoun is an Ewe­Fon sacred dance used to open a ceremony of the Yeve shrine. The original movements danced at the shrine inspired the choreography for this folkloric version, created by Dr. Opoku for the Ghana Dance Ensemble. X. Sikyi. This dance is another neo­contemporary dance of the Akan people of southern  and  central  Ghana.  Sikyi,  pronounced  see  chee,  forms the rhythmic  foundation  of  Ghanaian  Highlife  music,  the  primary style  of popular music in Ghana. X1.  Gota. Gota  is a  Fon dance that  is  played for  many different social occasions.  lts  original  version  is  played  on  gourds  rather  than  drums; however, the Ewe have transferred it  on to their standard drum set. It  was also choreographed by the Ghana Dance Ensemble. We would like to invite members of the audience to come up and participate in this dance. �ABOUT T H E  PERFORME RS Dances Directed and Choreographed by Pierrette Aboadji, Department of Theatre Dance Professor Aboadji is a Ghanaian performer and teacher of A frican dance.  As  a  performer,  she has  been  a  member  of the Ghana Dance Ensemble since 1995; as a  teacher, she is a lecturer in African dance at Binghamton University. Da ncers : Tamara  Pitter,  Amber  Ri vers,  Evelyn  Quist,  Latoya  Jean­ Baptiste, Genev a Johnson, Marcel March, Aarong Lee, Tinesha Feiton,  Emmy  Alba,  Vera  Adutwumwaah ,  Janet  Addae, Bernice Osei,  Megan  Buah, Michelle Nusinov, Lau ren G use, Marissa Schwa rtz, Fatima Nagaya, K risten Donaphin Drumming directed and arranged by James Burns, Departments of Music and Africana Studies Professor James Burns is an ethnomusicologist in the Depart ments of  Africana  Studies  and  Music  at  Binghamton  University.  His research focuses on music in West Africa and the Diaspora. D rum m e rs : Samuel  Young, Keaton Rood, Samuel Yaggy, Wayne Papke, Sacha Sigelma n­Schwartz, M elanie Clark, A lexander Crave r, Graham Feltha m, Randy Benje nk, Thomas Elefante r x E .  “ f “   lk  Elli”: _f. ‘ 4 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1960's - present Title A name given to the resource Binghamton University Music Department Tape Recordings Subject The topic of the resource Concerts ; Instrumental music ; Live sound recordings Description An account of the resource Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&amp;tab=LibraryCatalog&amp;search_scope=MyInstitution&amp;vid=01SUNY_BIN:01SUNY_BIN&amp;mode=basic&amp;offset=0&amp;conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email:&nbsp;<a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a> Rights Information about rights held in and over the resource In copyright. Template: PDF / Rosetta PDF with Rosetta audio/video link Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 1 audio disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:02:08 Streaming Audio Streaming URL <a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE150679">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE150679</a> Accessibility Copy/Paste below: Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>. PDF Layout This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous'] Options: 'Single' - Only the entire current page will be visible and Zoom will be set to page width. 'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width. 'Facing' - Up to two full pages will be visible and Zoom will be set to page height. 'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height. 'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) 'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.) Single Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource An evening of African dance, May 8, 2009 Recital Tape 2009-5-8 Description An account of the resource Traditional dance-drumming pieces from southern Ghana. Held at 8:00 p.m., May 8, 2009, Casadesus Recital Hall. Creator An entity primarily responsible for making the resource Nukporfe African Dance-Drumming Ensemble, Burns, James Aboadji, Pierrette Publisher An entity responsible for making the resource available Binghamton University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2009-05-08 Rights Information about rights held in and over the resource In copyright Type The nature or genre of the resource sound